Goodbye Emmanuelle

Sylvia Krystels last hurrah as Emmanuelle? Well not so fast. Almost like in horror movies, the character of Emmanuelle is not going anywhere ... well as in away. Because she is going places (even space in the 90s and 00s), but that is not what we are talking about here.

But even Sylvia herself. While it could have been a nice goodbye (even if not a perfect one, concerning how the movie is, flaws and all) ... but she came back, even if it only was a small role in part 4. And apparently she also was in Part 7 (or 6? Not watched either, but I know she came back even if only was a cameo, cannot confirm that btw).

That being said, the first two movies became infamous because of the love scenes (let's call them that). I think the one thing that may stick into your mind is the scene on the beach ... that can be called sensual. Overall this tries to concentrate on relationships ... if the script was better, that might have actually helped. But as it is, this is neither as erotic (still a lot of nudity) nor as shocking as the movies that preceeded it.

Emmanuelle (Sylvia Kristel) and her husband (Umberto Orsini) now live in the Seychelles and continue with their polyamorous relationships. However, when a young director (Jean-Pierre Bouvier) has an affair with Emmanuelle, her husband at last displays jealousy.

The third Emmanuelle film offers more of the same, with a slight twist from the previous films in that their sexual liaisons show more relationship conflict and in that sense perhaps demonstrates a bit more normal human behaviour. Although there is still plenty of nudity, it feels less erotic in tone than the previous two films with a little more psychology behind it. Kristel meanwhile, seems bored with the role by now.

Welcome to Fantasy Island! The 3rd part of the Emmanuelle stories with Sylvia Kristel plays on the Seychelles Islands, and it has less to do with the real world than any other part of the series. True, everybody has a job (not at an insurance or bank, but typically something like movie director, novelist, doctor etc.) but you never actually see someone working. Nobody has any worries about money, it seems to grow on trees - for everybody with a white skin, that is... Well, Emmanuelle makes the best of her dubious endless holidays in the third world and chases Gregory for a love affair. Her husband becomes jealous and hides Gregory's messages to her. The whole movie has an air of luxurious boredom somehow, but it's a nice way to escape from your daily troubles when you watch this (and watch it in widescreen to let the beauty unfold). I voted 7/8/6/4/6/7 for the six cinema films of the series.

I have always treasured fond memories of the EMMANUELLE series (offical entries and otherwise) from my movie-going days before hardcore pornography became legally available in my native country of Belgium. Unfortunately, this third installment is by far the weakest of the lot. The story is tired and largely devoid of interest, picking up lazily where part 2 left off with yet more trials and tribulations from the open marriage shared by Emmanuelle and Jean. Pretty pictures of the Seychelles will make you long for your next summer holiday but Serge Gainsbourg's repetitive soundtrack, consisting of two (count 'em!) endlessly rehashed theme tunes, will have you throwing any object within immediate reach at the telly by the halfway point.

Thankfully, Dutch goddess Sylvia Kristel was still around to essay the title character, dropping her already skimpy wardrobe at the slightest urging. She's the main reason why I still watch whenever this one pops up on late night TV, along with the pleasingly undraped appearances by the late Olga Georges-Picot – who, sadly, chose to end her own life as years progressed and fading beauty presumably left her unemployed – and Charlotte Alexandra who played the title role in Catherine Breillat's sulfurous UNE VRAIE JEUNE FILLE.

Unless you're a completist (in which case you may need professional help as much as, well, I do), stick to the original and its glossy first sequel or parts 4 (featuring hymen restoration in Brazil long before this became a medical possibility), 6 (scripted by Jean Rollin, so you know proceedings are going to get pretty screwy) or the elusive virtual reality themed 7 with Kristel returning and even dressing up as a nun – perhaps inspired by BLACK EMANUELLE Laura Gemser's similar travesty in Giuseppe Vari's SISTER EMANUELLE ? – for the film's unforgettable final scene !

After the titillatingly groovy sexy title song "Emmanuelle, Emmanuelle, Emmanuelle goodbye" sung by a husky-voiced Jane Birkin, along with Serge Gainsbourg it simply stays in your head long after the credits have rolled. Oh it's a hard one to shake off. The third feature of the official French "Emmanuelle" series is a step-down from the previous two entries starring Sylvia Kristel as Emmanuelle, mainly on its concentration for the story dramatics than the sexual context. That's not a bad thing, because is a perfectly realized story. Much more grounded, but quite reflective and still adventurous in more ways than one. The erotica is tastefully done, as the sex scenes are watered-down and briskly concluded, but it still has Emmanuelle with her swinging husband openly experimenting with their sexual desires. However how this one changes, is now Emmanuelle begins to question/or have second thoughts about this free-spirited lifestyle her husband encouraged when the arrival of a film director gains her interest. What starts off as a curiosity with the stranger becomes a lot more, where Emmanuelle and her husband rock-solid relationship of keeping no secrets begins to show cracks --- and jealously rears its ugly head.

Director Francois Letterier beautifully scenic direction of a pristine Seychelle is elegantly captured and presents a strikingly lush local flavour. The exotic music score is melodic, fitting the mellow tone. The performances are perfectly etched as the enticingly stunning Sylvia Kristel (a true goddess) shows not only she has a seductress pull, but can carry a film with a strong liberated performance. Umberto Orsini and Jean-Pierre Bouvier are solid too.